Sogeme Pie ied eee 
fs eta 


' A TROYON BRINGS $7,000. 
$46,240 Realized at Sale of Oehme and 
Ti... Ehrich Collections. 7 


‘There was a large crowd at the Fifth 
Avenue Art Galleries last evening at the 
Oehme and Ebrich sale of paintings. Sev- 
enty-six paintings were sold, bringing 
$46,240. ‘‘ Return of the Flock, Evening,” 
Troyon, broug. t the highest price of the 
sale, going to Alexander Barrie for $7,000. 
This is a list of pictures bringing the high- 
est prices, the artists, and buyers: 


Students of Music, Kaemmerer; Alexander - Is 
Pep IO tps Wis tence ne od Cais hers eee pea $4 
The Sultana’s Coffee, Fabres; R. C. Vose, 
Bost MATES ie dw mach Sel bible wrens see oe 6 sue e 6 Bees Oe eee 460 
Lady in Gray Satin, Sir Peter Lely; L. 
IMEOTEy civ tree Albee wa ce Oke Hes ede ay obit 475 
The Sentinel Trees, Harpignie; R..C. “Vose, 
MNCMM CRE ete a s-6 awa kia Wien ereeldie es slop viene Wwe ela 
Por mat of Van Loo, et Holland Art 


Meee ER RCN 2 gai da ig 0d nies oo 8 ee bis Cojo so SLSR 1,100 
Portrait Milton ‘in Youth, Dobson; Hol- Ri 

MA eA PEC ROLIOS ch sedative da ee as oma bee 575 
Voorburg, Holland, Gruppe; R ¢. vee 

"BYE SM OS CLEA eee RES Ba ae DD a a a 4 
Moonrise, Driesten; Ww. ‘H, “‘Woddin..... oe 425 
Plonde and Brune, or the Music Score, 

Kiesel; Alexander Barrie......<......... 700 
Gipsey Camp, Moreland; Holland Art Gal- — 

NGM iris card ach fe ccf Stes 6 oo BOs. 6 4. 4a Sele Yew hese 4T3 
Kemble as. Hamlet, Sir aTORas Lawrence; pes 

Rte DOTS ects Saas: oe Raia es sguve te ven ee Roe 825 
Portrait - Lady le Clere, unknown artist; 

PEE CDPOD ath 9 BS oe Ae Ie ep ae rg ie ea 610 
Home Lite in Holland, Kever; R. C. Vose, 
Peeper Tee seen reaper ta sara wi ak ety sie foe wb oS a age 1,300 
‘Portrait George IV., Sir Thomas Law- ; 

rence; J. L. Newborg . Bist iat are ee aes 475 
Bridge at Oudenard, Thaulow: John D. 

Re PIDEMRELTI Saale fataca cul tino 9 aisiecs o.s.66d-0 ow 6 8 sce eb 950 
Hivening Calm, Holland, Jongkind; H. A. 

Men ede ite ie Seco Sich Sd ate tar So Se cece coo SU 1,750 
Return of Baptismal ene Schmutzler; 

Vere te CPOLELIC DY aisry dip dislaeis wos Gre ¥ ecw ees Fee 950 
Summer Time, Albert Lynch; ” Saward Blu- 

PERSIE INCCE tiie gen uted sii Capac gw teuy Sa bows vee 625 


Portrait of Neil Gow, Scottish Fiddler; 
Meee DUE a esc ascwe succes dee ete Wicceiele pusisiavere 
Return of Flock, Evening, “Troyon: Alex- 

UAT OPO TILES ince hd a foe hv otetals abo aie betas Me 
Portrait Vicomitesse d’Hmonville, Largil-_ 


Riera cous AN LANL NIGM 5 vo) 22S v's eceves belt we 1,100 
Vironcourt in the Vosges, Monchablon; W. 

ie Aa OEILS Oe aS yO) os SeOR PE La weiss aoe 725 
Opening Grand Canal, “Venice; Ziem; un- ; 

(WG). 6 Oe ei he a e Ses SEU Ra eGo 5,500 


Sir John Reade and Brother, Salnsher: 
ough-Dupont; G. D. Heucken.........0- 
La Fermiere, Julian Dupre; R, C. one. . 825 

eee Wood Cart, Anton Mauve; H. A 
DA ON ares Wd cues Siete Vado. Sowa EE Ree 


Cavalier, | “Louis XV., _Roybet; “Alexander * 
EUS vet ciphieiy sats dad bebe esd wea eS io 
Our Daily Bread, Pieters: W. W. Fuller, .1,000 
eading the Talmud, Israele; J. W. Clark.1, ys 
‘easant. Trip, Wallachia; Kowalski 


SS 


$7,000 FOR TROVON'S 
~ "RETURN OF THE 


Seventy-Six Old: and Medea : 
ures Sell at Auction for 
Bree ras. - $46,240, 


- Modern paintings from the gallerles ¢ 
Julius: Oehme and “Old Masters” of the 
Ehrich Galleries, seventy-six in all, were 
sold last night in the Fifth Avenue | Art 
Galleries by James P. Silo for $46,240. The 
modern pictures seemed to find more adia 4 
and brought the highest prices, 


“The Troyon, represeniting “The Return 
of the Flock, Hvening,’ started with - “a 
bid of $1,000 and was finally disposed of 
for: $7,000 to Mr. Alexander Barri. Felix 
Ziem’s “Opening of the Grand Canal’ 
was sold for $5,500 to a. ‘purchaser who 
withheld his name. Mr. Robert C. ose, 
of Boston, a dealer, made several — 
portant purchases, among which were ren 
tonio Fabre’s..‘“‘The Sultana’s Coffee, =) 
$460; Harpignies’ The Central Trees,” 
$900: ,Dupré’s ‘‘La Bermilére,’? $825. 

Rigaud’s portrait of his contemporary 
Van Loo was bought by the Holland Art 
Galleries for $1,100 and the same firm ac- 
quired George Morland’s “Gipsy Camp” 
for $475, and Nicolas Maes’ “Portrait of a 
iGentleman’’ for $425. 

Mr, Gcorge Crocker paid $825 for ‘phe 
Red Shawl,” by Henner, and-Mr, G. L. 
Newborg $475 for the portrait: of George 
IV. by Sir Thomas Lawrence. An illus- 
tration of the high regard in which the 
works of Anton Mauve are held was re- 
vealed when a small water. color by that 


artist was pole for $1,300. to Mir EA, 
Cass. 


PAINTINGS 


From the Collections of 
meet US OEFKFHME and 
The EHRICH GALLERIES 


PUBLIC SALE ON 
Thursday Evening, March 12th, 1908 
Beginning Promptly at 8.15 o'clock 
At the FIFTH AVENUE ART GALLERIES 
FIFTH AVENUE, Corner or 45TH STREET 
NEW YORK 


ets 
~~ 


ON FREE VIEW FROM 
Monday, March 9th, Until Evening of Sale 
AT THE FIFTH AVENUE ART GALLERIES 

FROM 9 A.M. TO 10 P.M. DAILY 


The Trow Press 
New York — 


a i ts GG ‘ON ansdoeze9 
| | NOAOUL INVISNOO 


{ Me 


YOY 947 fo uungay 


z 


eee FIFTH AVENUE 


gaa is One door North of Fortieth Street bier | 
Bee 
-To be sold 


AT “ABSOLUTE. PUBLIC ‘SALE 
| THURSDAY EVENING 
March 12th, 1908 


Pee SALE WILL BE 

CONDUCTED by JAMES P. SILO, of the 
FIFTH AVENUE ART GALLERIES 
546 FIFTH AVENUE, Corner 45th Street, NEW YORK 


4 


Conditions of Sale | 


1. The highest bidder to be the buyer, and if any dispute arise 
between two or more bidders, the lot so in dispute shall be immedi- 
ately put up again and resold. 


2. The purchasers to give their names and addresses and to 
pay down a cash deposit, or the whole of the purchase money, if 
required, in default of which the lot or lots so purchased to be imme- 
diately put up again and resold. 


3. The lots to be taken away at the buyer’s expense and risk 
upon the conclusion of the sale and the remainder of the purchase 
money to be absolutely paid or otherwise settled for to the satisfac- 
tion of the auctioneer, on or before delivery; in default of which the 
undersigned will not hold himself responsible if the lots be lost, dam- 
aged, or destroyed, but they will be left at the sole risk of the pur- 
chaser. 


4. The lots to be taken away and paid for, whether genuine and 


authentic or not, with all faults and errors of description, at the 
buyer’s expense and risk, within Two Days from the sale; THE 
Firta AvenvE Arr GaLueries not being responsible for the cor- 
rect description, genuineness, or authenticity of, or any fault or 
defect in any lot, and making no warranty whatever. 


5. To prevent inaccuracy in delivery, and inconvenience in set- 
tlement of the purchases, no lot can on any account be removed dur- 
ing the sale. 


6. If, for any cause, an article purchased cannot be delivered in 


as good condition as the same may have been at the time of its sale, 
or should any article purchased thereafter be stolen or misdelivered, 
or lost, the undersigned is not to be held liable in any greater 
amount than the price bid by the purchaser. 


7. Upon failure to comply with the above conditions, the money 


deposited in part payment shall be forfeited, all lots uncleared within 
the time aforesaid shall be resold by public or private sale, without 
further notice, and the deficiency, if any, attending such resale shall 
be made good by the defaulter at this sale, together with all charges 
attending the same. This condition is without prejudice to the right 
of the Auctioneer to enforce the contract made at this sale, without 
such resale if he thinks fit. 


THE FIFTH AVENUE ART GALLERIES are in no ways 
responsible for the charges or manner of delivery of goods purchased 
at their sale. 

JAMES P. SILO, Auctioneer. 


Artists Represented 


ARTIST TITLE 
Avicpor, RENE 
Lady in Directoire Costume 


Barker, THOMAS | 

Boy Blowing Bubble 
BERKHEYDEN, GERRIT 

View of Canal, Haarlem 
Bourcain, Gustave 

Hercules and Omphale 
CarrENo (DE Miranpa) 

Portrait of a Spanish Boy 
Creperstrom, THire von 

The Literary Prelate 
Crovet, Francois (ScHoou oF) 

A French Nobleman 

Corot, CAMILLE 

Tialian Landscape 
Cotrs, FRANCIS 

A Gentleman Unmasked 
Cores, FRANCIS 

A Lady in White Silk 
Couxtaup, Martin 

Evening at the Farm 
De Bock, THEoOPHILE 

Silver Birches in Summer 
Dosson, WILLIAM 

Portrait of Milton in His Youth 
Drissten, A. J. Van 

Moonrise 
Durprt, JULIEN 

La Fermiére 


Fasrers, ANTONIO 
The Sultan's Coffee 


CATALOGUE 
NUMBER 


No. 


No. 


No. 


No. 


11 


44 


66 


ARTIST TITLE 

GAINSBOROUGH-DuUPONT 

Sir John Reade and Brother 
GaissER, Max 

Cavalier Trymg a New Song 
Gruppr, CHartEs PETER 

View at Voorburg, Holland 
Guyon, MaximMiItiennE 

Café au Latt 
HANNEMAN, ADRIAEN 

Portrait of Lady Erle 
Haritow, GrorcE HENRY 

Portrait of the Duke of Wellington 
Harpienies, Henri 

The Sentinel Trees 
HENNER, JEAN JACQUES 

The Red Shawl 
HENNER, JEAN JACQUES 

Thusnelda 
InsKIPP, JAMES 

Portrait of a Lady 
IsRaAELS, JOSEF 

Readmg m the Talmud 
JONGKIND, J. B. 

Evening Calm, Holland 
KarmMERreER, F. H. 

Students of Music 
Kerver, J. H. S. 

Home Life in Holland 
KirsEL, CoNRAD 

Blonde and Brune 
KNELLER, Sir GopFREY 


Portrait of the Countess of Clarendon 


Kowatski, A. Wirerus von 

Start of the Pleasure Trip 
LARGILLIERE, NICOLAS DE : 

Portrait of Vicomtesse d’Emonville 
LAWRENCE, Sir THomAS 

Kemble as Hamlet 


LAWRENCE, Sir THomas 
Portrait of King George IV 


CATALOGUE 
NUMBER 


No. 


No. 


60 


3 


me | 
. 49 
- 20 
oid 
. 15 
. 29 
. AY 
. 4 

. 69 
. 43 
«9 

Or 
» 25 
. 22 
ye! 
. 56 
. 28 


208 


4 
er 


CATALOGUE 
NUMBER 


46 


| aga im Gray Satin Gown os No. 14 
~ ey PErer 7 
7 - Portrait of the Lady Palatine No. 64 
iL: ae. . 
Rest for the Very No. 31 
ALBERT | | 
; Summer Time — No. 51 
a AES, Nicozaas , | 
ee py: ~—s Portrait of a Gentleman No. 48 
of | Masrawazozs, JoHan Henprick vAN 
vy. Winter Morning at the Lock | No. 73 
‘ Mave, ANTON © : 
Seu ic) | The Wood Cart | No. 63 
| Mazo, Juan B. M. DE ‘ 
Ps Portrait of a Man : No. 12 
_ Meyer, Emm | 
The Fe Loting Cardinal , No. 39 
_ Moncuastoy, JAN : 
| 7 View of Vironcourt in the Vosges No. 57 
- Moraxzs, Luis DE 
| Madonna and Christ-Child No. 10 
Morzranp, GEorcE | 
Summer Afternoon No. 58 
Mortanp, Grorce 
. ue Gipsy Camp No. 26 
_  --- OrFrrMans, Tony | . 
ae | The Farm Hand No. 35 
pedi Pauma, Jacoro (It Grovine) : 
ee Madonna and Child No. 74 
Bi PEsNE, ANTOINE 
Lady in Brown Cloak No. 36 
oe Preters, Evert 2 
« } Our Daily Bread | y No. 67 
i -Preters, Evert 
M The Longshore Fisherman No. 19 
4 Piot, ADOLPHE 


Tea Roses No. 27 


Ramsay, ALLAN 
| Portrait of Lord Chesterfield 


Reyno.ps, Sir JosHua (ScHoot OF) — } ab 

gaa The Two Cupids rea ae sO bs 

Ricavp, HyYacinTHE 7 “ 3 
Portrait of Van Loo 


Rosa, SALVATOR 
In the Mountams 


RoysBet, FERDINAND 
Cavalier, Louis XV 


RussEvit, ‘THOMAS 
Off to the Gorton 
Scumurzier, LEOPOLD 
Return of the Bore: Party 
SHURTLEFF, R. M. 
. June m the Adirondacks 


THauLow, Fritz 
The Bridge at Oudenard 


Troyon, ConsTANT | aa 
ae Return of the Flock . i 

Turner, Davip 
Old London Bridge 


Unknown oe 
Portrait of a Lady «5 2 a 


- Varotari, ALESSANDRO (in TOAD), 
Muse of Music 


Van DEN Tempet, A. 
Dutch Burgher Lady 
Van Somer, Pavt 
Portrait of a Young Man 
Van Strriz, ABRAHAM 
Cattle by the River 
WatTeau, ANTOINE (ScHooL oF) 
Mimuet on the Green 


Wittcocr, G. B. 
Mill on the Teign, Devonshire 


ZiEM, FELIX 
Opening of the Grand Canal, Venice 


List of Illustrations | 


CATALOGUE 
ARTIST TITLE NUMBER 
Troyon, Constant 


Return of the Flock at Evening (Frontispiece) No. 55 


Harprienres, HEnz1 ) a 
The Sentinel Trees No. 15 


Ricaup, HyacintTue 
Portrait of Van Loo No. 16 


HanNEMAN, ADRIAEN 


Portrait of Lady Erle No. 20 


KNELLER, Sir GopFrey 
Portrait of Countess of Clarendon No. 22 


Mor1Lann, GEORGE 
The Gipsy Camp : No. 26 


Kever, J. S. H. 
Home Life in Holland No. 37 


LawrENcE, Sir THomas 
Portrait of George IV No. 38 


Tuavutow, Frirz 
The Bridge at Oudenard No. 41 


Ramsay, ALLAN 
Portrait of Lord Chesterfield No. 42 


ARTIST TITLE 
ScHMUTZLER, LEOPOLD 


Return of the Baptismal Party 


LAWRENCE, Sir THomas 
Portrait of Lady Blessington 


Mars, Niconaas 
Portrait of a Gentleman 


RaAEBURN, Sir HENRY 
Portrait of Neil Gow, the Fiddler 


LARGILLIERE, NicoLas DE 


Portrait of Vicomtesse d’Emonville 


MoncHABLON, JAN 


View of Vironcourt m the Vosges 


ZiemM, FELIX 


Opening of the Grand Canal, Venice 


GAINSBOROUGH-DUPONT 
Portrait of Sir John. Reade and Brother 


Duprt, JULIEN 


La Fermiére 


Mauve, Anton 


The Wood Cart 


Ley, Sir PETER 
Portrait of the Lady Palatine 


Royspet, FERDINAND 
Cavalier, Louis XV 


IsRAELS, JOSEF 


Reading m the Talmud 


CATALOGUE 
NUMBER 


No. 


No. 


No. 


No. 


No. 


No. 


45 


. 46 


. 48 


. 54 


56 


57 


. 59 


60 


61 


. 63 


. 64 


. 65 


69 


No. 1 
M. COULAUD 


PARIS 


EVENING AT THE FARM Jad 


A pupil of Charles Jacques, this painter has had a distin- 
guished career in France, though he is little known as yet 
in the United States. Forms of animals and men are well 
defined in the gathering darkness after sundown. 


Signature at bottom to left. 
On canvas; height, 16 inches; width, 24 inches. 


Owned by JuLius OEHME. 


eo i 


No. 2 | 

oe” . 
) E, 4 DAVID TURNER 
ENGLISH SCHOOL 


About 1800 


tectural paintings sth engravings. 2 
Academy in the years immediately before and aft 
the subject of his paintings being mostly taken from L 


and from the river Thames. His work has lately beg 
be more adequately appreciated. ae ea 2 


OLD LONDON BRIDGE 


Whistler. Among those who found subjects in the fags of Lon- 
don was the engraver and painter, David Turner. In this view of 
London Bridge, the old Custom House appears on the right. ‘The 
figures on the quay and all the details are excellent, but the great oe: 
beauty of this picture lies in the sky, which is worthy of the later 


and more famous Turner. " 
On canvas, height, 19} inches; width, 262 wee 


Owned by Tur Enrich Gat.Eries. 


No. 3 
MAX GAISSER ~*~ 


MUNICH 
CAVALIER TRYING A NEW SONG 


A gentleman of the seventeenth century in a white satin 
body coat, big white ruff, and pale gray felt hat examines 
a piece of music and holds a mandolin in his hand. Solid 
intelligent brushwork, excellent textures and still life. 


Signed in right upper corner. 
Painted on panel; height, 104 inches; width, 8 inches. 


Owned by JuLius OEHME. 


No. 4 
70 ~ JAMES INSKIPP 


ENGLISH SCHOOL 
1790-1868 


Inskipp was a man of parts and intellectual attainments 
who exhibited at the Royal Academy from 1820 to 1845 and 
at the Society of British Artists from 1825 to 1885. In 1838 
he published “ Studies of Heads from Nature.” 


PORTRAIT OF A LADY 


Bust of young woman in low-necked scarlet corsage with a tea 
rose at her breast. She wears a broad brown beaver hat with old- 
rose ribbons. The hat shades the downcast eyes. Sumptuous soft 
brushwork full of color and rich quality. 

On canvas, height, 24 inches; width, 20 inches. 


Owned by THe Enrico GALLERIES. 


No. 5 


R. M. SHURTLEFF 4“ 


NEW YORK 
JUNE IN THE ADIRONDACKS 


Interior of forest with sunlight filtering through the 
glade in the background. A doe feeds in the shady fore- 
ground. Effect of the intense stillness of the American 
forest. 


Signature at bottom to the right. | 
On canvas; height, 20 inches; width, 25 inches. 


Owned by Jutius OEHME. 


90 JUAN CARRENO DE MIRANDA 


SPANISH SCHOOL 


\ 1614-1685 as 


Carrefio soon won recognition by his talents, and | was % ; 
specially patronized by Philip LV, who employed him in ‘a 
several important fresco works, and nominated him as his — Be 
court painter. ‘“ His coloring was, in tenderness and suavity, 
perhaps superior to that of any painter of his country pos ek Ne 
Murillo.” 3 as 

PORTRAIT OF A SPANISH BOY 

A youth painted with a devout expression of indifference to : a0 
worldly things is shown with hands brought together in prayer, a : 
face very pale and long black tresses falling over his black and ~ ioe 
loosely fitting jacket. A severe white linen collar relieves the dark- | 


ness of the costume; it seems to be the oils collar introduced by tee 


King Philip. aces 
On canvas; height, 23 inches; wilth, 18 inches. 
Purchased in Seville, Spain. eth 


Owned by THE Enrico GALLERIES. 


Se 


No. 7 
0 ~«  QGQUSTAVE BOURGAIN 


PARIS 
HERCULES AND OMPHALE 


On the balcony-loggia of a house sits a young officer in 
the dress of Napoleon’s dragoons before a spinning wheel. 
His brass helmet with horsehair plume rests on the balustrade. 
To one side stands a blooming maiden laughing at the young 
man’s awkwardness. A jovial and well-painted genre pic- 
ture representing a modern Hercules disarmed and enslaved 
by his love and beguiled into woman’s work by his enslaver. 


Signature at bottom to lejt. 
On canvas; height, 18 inches; width, 15 inches. 


Owned by Jutius OEHME. 


| /go- © B. WILLCOCK 
ENGLISH SCHOOL 


1820-1852 


Of this ries an example of whose work the ‘Nationa | 
Gallery of London has lately bought, little i is known. He — 
exhibited twelve paintings in the Royal Academy between 
1840 and 1851. His death was caused by a cold, caught 


while painting on Hampstead Heath. A writer has said of 


him: “ His work is so like that of Constable that it is very 
possible that unscrupulous persons have often removed his _ 
signature and sold his pictures as those of the greater : 


master.” 


MILL ON THE TEIGN, DEVONSHIRE 


Landscape with watermill to the left, a sloping hill to the ian: 
and a stream rippling over rocks in the centre. To the right on 


higher ground a group of fishermen. In the distance a bridge and 


cabins. There is an atmosphere about this picture which is personal _ 


and attractive. Fine tonal quality sugg geeng Constable. 


Signature, lower right. 
On canvas; height, 15 inches; width, 24 inches. 


Owned by THr Enrico GALLERIES. 


No. 9 


F. H. KAEMMERER “% /~~ 


PARIS 3 y 4 
STUDENTS OF MUSIC Keyanter Jenne 


In the garden of the Luxembourg Palace, Paris, a young 
girl and her chaperon are walking from their music lessons, 
carrying their instruments and talking to one another. They 
pretend not to see a youth who follows them. The dress is 
that of about 1830. Landscape and figures in gay, light 
tones. 


Signature at bottom to left. 5 
apts On canvas, height, 32 inches; width, 22 inches. 


Owned by JuLiIus OEHME. 


No. 10 


Y »)- LUIS DE MORALES 
SPANISH SCHOOL 


1509-1586 


Morales was called “ El Divino ” because he confuet his 
talents to paintings of Christ and the Virgin, and also be- a 
cause of his fine execution. His larger works are principally =» — 


in the churches, and even his smaller pamtings are rarely seen 
out of Spain. “In his second period we find brilliancy of © 
ech but with an over-delicacy of feature, and melancholy 
grace.” 


MADONNA AND SLEEPING CHRIST-CHILD 


The slightly inclined head of the Madonna and the type of her 


face show the influence of Raphael. Original is the sleeping face 
of the holy child, His small head, delicate limbs, and rosy knees. A 
peculiar Spanish crispness of handiwork which gives an original 
touch to the well-worn theme. 


On canvas; height, 242 inches; width, 184 inches. 


Purchased in Madrid, Spain. NY 


Owned by Tur Enrico GALLERIES. 


No. 11 


RENE AVIGDOR 2 /~ 
PARIS 
LADY IN DIRECTOIRE COSTUME 


Bust figure of a graceful woman dressed in a gown of 
the French Revolution. Firm lines, strong color, and skil- 
ful modeling. 


Signature at top to left. 
On canvas ; height, 25 inches ; width, 21 inches. 


Owned by JuLius OEHME. 


/ 


“ 


p0o- 1610-1687 


No. 12 


JUAN B. M. DEL MAZO 


SPANISH SCHOOL 


Mazo, born at Madrid, entered the studio of Velasquez 
and became his son-in-law. He followed closely in his mas- 


ter’s footsteps. “ Mazo was an admirable portrait painter; 


his pictures resemble very closely those of Velasquez—the i 


same rich color and fine treatment.” At the death of Velas- ie ; : 
quez Mazo was made painter-in-ordinary to King On Be 4 


Ae ust he also ae under Charles IT. 


PORTRAIT OF A MAN 


A half smile on his lips the unknown gentleman, who bears a de- 


cided resemblance to Velasquez, glances to his left as if he had just 


said something pointed, if not malicious. He wears upturned mous- 


tache and “ moschetta ” or small goatee. His coat is black and the 


collar is of that severe type for which King Philip set the fashion — 


in order to encourage his court to be economical. Warm flesh tones, 
big masses. > 
On canvas; height, 18 inches; width, 15 inches. 


Owned by THE Enrico GALLERIES. 


No. 138 


ANTONIO FABRES 
PARIS apis: 
THE SULTANA’S COFFEE = (as Pe Cee 


A half-grown slave girl in a single bright-red garment, 
showing breast and shoulders and looped up to the knee, car- 
ries a brass tray with small coffee | cups on filagree stands, 
‘a coffee pot, etc. She wears an enameled head-dress and 
gold bangles of different shapes on bare ankles and arms. 
Antonio Fabrés is a Spaniard who made a name in Paris, 
where he studied painting. At present he is the Director 
of the Academy of Fine Arts in Mexico City. 


Signature at bottom to right. 
On canvas; height, 29 inches; width, 24 inches.. 


Owned by Jutius OEHME. 


oben 


No. 14 


SIR PETER LELY 
1975 * ENGLISH SCHOOL 
| 1617-1680 


Lely was born in Germany, studied in Holland, and came 
to England at the age of twenty-four—one year after the 
death of Van Dyck, whose style he followed. He painted 
the portrait of Charles I and of Cromwell as well. Charles 
II appointed him his court painter and conferred on him 
the honor of knighthood. “He gained great reputation 
and encouragement, and for many years was the most emi- 
nent painter in England. His works are characterized by 
a beautiful and permanent coloring, and by the graceful 
attitudes of his subjects.” . 


LADY IN GRAY SATIN GOWN 


One of the fair ladies of the Court of Charles I clad in the sober 
yet rich gown the fashion for which was introduced by Queen Hen- 
rietta Maria. Like Van Dyck whose place he took, Sir Peter was 
very happy in giving the shimmer of silk and satin. Sam. Pepys 
has recorded the pomp, circumstance and great popularity of this 
Westphalian, who was a favorite under two English kings and the 


Protector Cromwell also. 
On canvas; height, 403 inches; width, 343 inches. 
Collection: James Wa.LKER, Scotland. Exhibited at the Aberdeen Art Exhibition. 


Owned by THe Enrich GALLERIES. 


The Sentinel Trees 3 | . 


HENRI HARPIGNIES : 


- Catalogue No. 15 


] C 


No. 15 


HENRI HARPIGNIES | ‘as ; 


PARIS en oe, i a 


THE SENTINEL TREES" 


Quiet landscape. and sky view a en the ele and Cf Lip 
through the branches of old chestnut trees. . The month is a 
July, and the sun throws short shadows from a high posi- 
tion on the left. Leaves are finely indicated against a quiet 
even-toned sky. Beyond is a thoroughly. cultivated land 
with rolling hills, very characteristic of northern and central 
France. } 
Signature at bottom to Weft hn Aa A | ee = rip 4 f 


‘On canvas; bila. 18 ‘inches; width, Liss inches. 


Owned by JuLius OFHME. 


i 
’ ae ) 
- i a 


No. en 


HY ACINTHE roe 


FRENCH SCHOOL — : ae 


tape 


1659-17 43, 


Born of a family of artists, Rigaud mene his i: ee 
under local artists, first at Montpelier and then i in the <a « 
' emy in Paris, where he gained a prize the second year, attract-— ae 
ing the attention of Le Brun, who advised him to devote fs 
his talents to portraiture. By years of application he became 
a recognized artist, was favored by | the Court, ennobled in 
1709, and afterwards pensioned by the king. His paintings 7 


may be found i in all the principal galleries: of Europe, and 
b in many. of the provincial galleries and private collections. — 
PORTRAIT OF THE PAINTER VAN LOO sebe 


} 

F : ; 4 ‘ | 
| The poor painter, Jean Baptiste van ib a  handeoee man in 
| | 

! 


a big wig, brown coat, soft lace cuffs and shirt bosom, and red = 
, velvet cloak, sits sidewise on a table and holds a big volume half | 
opened with both hands. His feet are on the chair by the table, but 
are concealed by the cloak. Splendid drawing in book, draperies, 


and face; rich coloring, vivacious alert expression. Rigaud put his 


full power into this likeness of his fellow artist and in it produced 


one of the masterpieces of French art of the day. Sea 
Purchased from nobleman’ 8 collection in Marseilles, France. \ 
On canvas; height, 554 inches; width, 424 inches. 


ie Name on one of the volumes: “ JEAN vAN Loo.” 


Owned by Tue Enrich GALurries. 


17 


1659-1743 


HYACINTHE RIGAUD 


Portrait of the Artist van Loo 


No. 17 


THURE VON CEDERSTROM 


MUNICH 


Pe 


J y 4 


THE LITERARY PRELATE far 


The Swedish painter trained at Munich has pursued the 
line of genre in which Vibert was most successful, but has 
avoided the biting satire which Vibert sometimes showed. 
The Cardinal he paints here is surely a member of the Acca- 
demia which has existed for literary purposes during many 


centuries in Rome. He is a writer as well as reader. 


Signature at top to right. 
On panel; height, 14 inches; width, 10 inches. 


Owned by Jutius OEHME. 


WILLIAM DOBSON 


é a, q j~ ENGLISH SCHOOL 


1610-1646 


| ie Dobson, called “the English Van Dyck,” appeared to 
y have approached nearest to the excellence of the great Flem- 
i Metahvy ish master. Van Dyck was his friend; and after the for- 
r mer’s death, Dobson was appointed painter to Charles I, 
whose portrait he painted. He painted a number of the 
Ono Several of his portraits are in the National Sollee | 


PORTRAIT OF MILTON IN HIS YOUTH 


_ The fair-haired youth here portrayed has been identified as J oe 
P Milton, the poet, who was only two years older than Dobson. His. 
| appearance in this picture coincides with the story that, when at 

Cambridge, his delicate features and fastidious manners won him the 
nickname of the “ Lady of Christ’s College.” Portraits of Milton | 
in his old age exist, but this one of the period when he wrote “ Ly- 


cidas ” 


is unique. Its quality shows how great a painter was lost 
when Dobson died at thirty-six. 


From the collection of an English nobleman. 
On canvas; height, 30} inches; width, 25 inches. 


Owned by Tur Enrico GALLERIES. 


No. 19 


EVERT PIETERS 


KATWYK-AN-ZEE 
THE LONGSHORE FISHERMAN ee ahi 


A lively expanse of strand and white-capped sea with 
tolling, racing clouds above. Down the beach are figures. 
Near the foreground is a cart with old white horse, and 
wading in the shallow rippling water is a Schell-Fischer, 
or gatherer of cockles, using a rake to secure his harvest. 
Easy brilliant effects of light under pale gray skies. 


Signature at bottom to left. 
On canvas; height, 16 inches; width, 24 inches. 


Owned by Jutius OEHME. 


_ADRIAEN, HANNEMAN | 


. DUTCH SCHOOL 


oe oe 
Raatte 1611-1680 
- Hanneman was a distinguished portrait paint : 
Hague who was induced to visit England by reaso 
“encouragement given to the arts by Charles Lic 
og pupil of Ravesteyn and a follower of Van Dye 
ot the sixteen years he worked in England he’ - 7 
traits. of: the. nobility; and his portrait of ‘Charles 
engraved by Danckerts. His portraits « are f ound ae | 
ton Court and In the Vienna, Rotterdam and ‘Franl 


galleries. wh 9 beet we alta 


‘PORTRAIT OF LADY ERLE 


b. A small Avert: aes aft a fair inaee in gray ann a gown 
; cut low. in the neck and long reddish curls. Her brow i is hung with f 
| -a range of small curls, and long curls fall quite to her shoulders . . i 
which are entirely bare. Her only ornaments are a bracelet of | Base 
pearls and a few single pearls that catch at the sleeves. Remarkable _ 
rendering of tissues. A background of column, rock, and torrent ine 
the Van Dyck manner. 


From the executors of George Allen, Marnhull, Dorsetshire, England. eae 
On canvas; height, 45 inches; width, 35 ‘icles ok a 


a 


Owned by 'THE EnRICH GALLERIES. 


ADRIAEN HANNEMAN 


1611-1680 


Catalogue No. 20 


No. 21 


CHARLES PETER GRUPPE 
KATW YK-AN-ZEE a 
VIEW AT VOORBURG, HOLLAND “7° ° “7%. 


Scene on a Dutch canal by an American painter, who 
lives in Holland at Katwyk-an-Zee. Fine painting of a 
single big cloud seen through the trees bordering the canal. 
Tonal effects like the modern Dutch landscapists. 


Signature at bottom to right. 
On canvas; height, 36 inches; width, 28 inches. 


Owned by JuLius OEHME. 


No. 220 


oe a SIR GODFREY KNELLER 
t DUTCH SCHOOL , 
33 | 1646-1723 


ne although born in Germany, is classed in th 0 2 
Dutch School, as he received his art education in the school =a Be 
of Rembrandt, and afterwards studied under Ferdinand Bol. 
After visiting Italy, he spent some time in Hamburg; but a 
at the age of twenty-eight he went to England, where. at 
the courts of Charles II, J ames II, and William and Mary, a 
-he won laurels and ten ‘He was knighted in 1692, and ee: 
created a baronet in 1715. fe ‘ There was hardly a Beso of 
“note in ‘his se whom he did not paint.” eee 


( 


SOE ET EE ae ae ee a a a a a 
f : 4 >a J Ae ms eon = 


ee eee 


RIGHT . HONORABLE COUNTESS OF CLARENDON _ 
~ Handsome lady with sloping shoulders clad in a dark-blue over- 
garment which she holds elegantly with her left hand at her bosom. 
Her natural wavy hair comes down in one long curl over the right 
shoulder. She rests her right hand on the red drapery over a table. 
Pensive look, rich full lips, slender and beautiful hands. A stately 
and distinguished person. 


: On canvas; height, 484 inches; width, 38 suey 
A picture of Lapy CLARENDON is supposed to be at Hampton Court Palace, but is missing. |4 


Owned by THE EnricH GALLERIES. 


Lady Clarendon 


SIR GODFREY KNELLER 


1646-1723 


Catalogue No. 22 


Meehan 'h 
bik phe 1 be sa LS 
ht i sok 2m te ay 


4 


a 


iY =< «eo - * Se ae > 


* 


No. 23 


A. J. VAN DRIESTEN 
THE HAGUE 


MOONRISE 


A. good specimen of one of the younger members of the Ji ile ohare 
Dutch School of modern landscapists. The brushwork dif- 
fers greatly from that of the old Dutch painters of moon- 


light like Van per Nerr. Excellent atmospheric effects. 
Signature at bottom to the right. 
On canvas; height, 24 inches; width, 36 inches. 


Owned by Juttus OrHMeE. 


eae 
eg F< 
Lge 

:. we 


Ob , YY x y ' 
J) OUR ee ee eae . 
eS Oy ne ee 


No. oA 


SALVATOR ROSA 
ITALIAN SCHOOL 


2 ss 1615-1678 | eo) 

Rosa was born in Italy, and spent his life largely in ae : 
Naples, Rome, and Florence. After great struggles with sh 
poverty and neglect, he finally achieved the very highest dis- _ : 
tinction. ‘“ The brightest era of landscape painting is said 
to have been in the time of Pope Urban VIII, when flour- 
ished Claude Lorraine, Gaspard Poussin, and Salvator Rosa. 
Of these Salvator was the most distinguished.” Sir J oshua 
Reynolds said: ‘“‘ What is most to be admired in the works © 
of Salvator Rosa is the perfect correspondence which he ob- 
served between the subjects which he chose and his manner 
of treating them.” 


ee A Lage Gee Sere Be ae ee gee 


IN THE MOUNTAINS 


A rugged mountain scene. Probably one of the haunts in which 
Salvator Rosa passed much of his life. A rapid stream flows at 
the foot of the mountains and breaks in a succession of cascades. 
Several groups of individuals. The party in the foreground seem- 
ingly on a picnic excursion; one of them is evidently endeavoring to 
catch fish for the approaching meal. Strong painting of trees in 
Salvator’s manner. Great masses of color, well-lit sky. A fine ex- 
ample of this great early landscapist. | 

On canvas; height, 38 inches; width, 46 inches. 


Owned by THe Enricu GALLERIES, 


No. 25 | : 
CONRAD KIESEL 


PROFESSOR OF PAINTING, BERLIN FAN = 


BLONDE AND BRUNE; OR, THE MUSIC SCORE 
; pray ee 


re 
Group of two pretty girls who are contrasts in coloring. (EAL ek 

They are about to sing from a musical score in front of them. | 

They represent ideals of German beauty; the brune sug- 

gesting Bavaria and the blonde Saxony. 


Signature at top to left. 
7 On canvas; height, 27 inches; width, 24 inches. 


Owned by Jutius OEHME. 


No. 26 


GEORGE, MORLAND | 
ENGLISH SCHOOL 


HI? % 1768-1804 


His Seo Siem ; 
rural scenes and personages, have a charm. of. their 
an individuality | which distinguishes them from 


works. With exception of a brief visit to ‘France, 


: discriminating collectors. 


life was is spent in Race Jo i 


“trite OPS Ue Gao Sree tee Game (on aa SG 

A family of gipsies have reed a Beit shetie tent near | 
magnificent oaks and kindled a fire, near which stands an old wom 
By her side sits a younger woman with two children. In the middle 
distance a man approaches with fagots. To the left is a donkey 
lying down. Rich color effects to which woodland and d figures ¢ con- ae 
‘tribute their share. +) me «Vie Gee oe me 


Signed lower left “GrorGE Mor.anp.” 


iS Pe ee oe ee ee 


On canvas; height, 25 inches; width, 35 inches. 
: Fron the Spispy Rectory, Lincolnshire, England. 


Owned by THE EHRICH GALLERIES. 


93 ON eNnSolez"O 


VOST-S9LT 
GQNV’THOW WOUOUWD 


No. 27 


ADOLPHE PIOT 
PARIS 
TEA ROSES 


A pretty woman, with hair the color of ripe grain, and 
proud of her pretty hands, which she displays with care, 
has dressed herself for a costume ball. She carries a basket 
of tea roses to offer to the admirers whom she is sure to meet. 


Signed in centre to right. 
On canvas; height, 26 inches; width, 20 inches. 


Owned by Jutius OEHME. 


No. 28 — 


SIR THOMAS LAWRENCE 


ENGLISH SCHOOL | ee as a 
es 1769-1880 ae =o en: 


The speedy success of Lawrence after his arrival i in 


538 


don and his early and constant patronage by the king n 


a / Mert ck berg the aristocracy of Europe evidence the appreciation w I 
- marked his career. All the celebrities of his time were 


to have themselves immortalized by his brush, and his 
traits of the members of the Kemble family, copes 
Mrs. Siddons, are well known. 


KEMBLE AS HAMLET 


Soe a 


The famous actor stands by Yorick’s grave with the skull in a ; 
his hand. He wears a long dark cloak which is lighted from beneath — 


by the gravedigger’s lantern, showing the red lining. This is a : 
smaller replica of the painting in the National Gallery, London. __ 
On canvas; height, 33 inches; width, 22 ‘inches. wn 


Owned by 'THE EnRICH GALLERIES. 


No. 29 


JEAN JACQUES HENNER 
PARIS (he ct Peay dey 


ae 


oe 


Py Adee 
THE RED SHAWL {cm 


A pensive pale-faced girl gazes mysteriously from the 
canvas. A wrap of a brilliant red color is round her shoul- 
ders. ‘The expression is hopelessly sad, like that of a Beatrice 
Cenci. 


Signature to the lejt at top. 
On canvas; height, 15 inches; width, 11 inches. 


Owned by Jutius OEHME. 


No. 30 


PAUL VAN SOMER 


FLEMISH SCHOOL: 


1576-1621 


great success. About 1605 he visited England, es 
great majority of his works are now to be foun 
= painted portraits of many of the English ca 
i ing that of James I. 


eS be PORTRAIT OF A YOUNG MAN 


: and benevolence which is very pleasmg. A broad linen olla Sue 
| with openwork lace covers the shoulders. The color scheme i 1s rich 
| ; and. attractive. en Be: 


Owned by THE Enrico (GALLERIES. 


No. 31 


HENRI LEROLLE 
PARIS 
REST FOR THE WEARY 


Twilight has come and a peasant woman, tired with her 
labor in the fields, has seated herself on the ground near a 
big haystack. A careful painting, probably for a figure in 
some larger picture. Fine tones in clouds and a masterly 
brushwork, easy and virile in the painting of the fields. 


Signature to right at bottom. 
On canvas; height, 26 inches; width, 23 inches. 


Owned by JuLius OEFHME. 


No. 32 | 


JOHN RUSSELL 


ENGLISH SCHOOL 
Lf G0" 745-1806 


Russell received his first art education from Franci: a 
Cotes. After a number of years of difficulty and despond- : 
ency; he began to win success, and in 1792 he was called : a 

“painter to the King and Prince of Wales, and also to the a 
Duke of York.” Subsequently he received commissions to _ 3 
execute the portrait of the Princess of Wales with the infant _ 4 
Princess Charlotte on her knees. His portraits of children 
are particularly admired. Most of his work was done in __ 
pastel, but occasionally he used the oil medium. Splendid | 
‘examples of Russell’s work are exhibited in the palace ate 


LEP AAA TE ait naa ais 


Hampton Court. 


OFF TO THE GARDEN 


A sweet-faced girl is depicted by the popular British portrait — 
painter in the act of running out into the garden for flowers. She 
carries a brown flat basket and seems to have stopped suddenly to 
gaze at some one with the frank direct stare of childhood. Her big 
brown eyes are inquiring but fearless. Delightful tones in curly 
locks and the dull pink sash. | . 


On canvas; height, 30 inches; width, 25 inches. 
Collection: Executors of Squirr Eyre, Manor House, Newbury, Berkshire, England. 


Owned by THE Enrich GALLERIES. 


No. 33 vA 
UNKNOWN ARTIST 


pA of 


PORTRAIT OF A LADY LE CLERC uy i¢ 


A young noblewoman, a black velvet cap on the back of 
her head, a transparent big ruff round her neck, holds a red i oe 
prayer-book in her hand. Her name and age are given on 
the canvas: “ Philippe Le Clerc aagée de XVI ans, 1590.” 
Her arms are to the right. On a gold shield a crowned lion 
gules. In chief three besants gold. 
On canvas; height, 39 inches; width, 28 inches. 


Owned by Jutius OEHME. 


No. 34 


FRANCIS COTES 
ENGLISH SCHOOL 
eS Maes Mi 1726-1770 


Cotes was a popular portrait painter of London, and his 
work may be found in many public institutions. He was one 
of the first members of the Royal Academy and also a 
member of the Incorporated Society of Artists. 


THE GENTLEMAN UNMASKED 


A handsome young gentleman in a blue velvet cloak lined with 
ermine and a beautiful body-coat of white satin, girt with a blue 
and gold belt, has removed his paper half-mask and stands leaning 
his arm on a table. ‘The golden hilt of his sword peeps from under 
the ermine. Pale, clean-shaven face, raven black hair. Strongly 
marked personality. Perhaps an actor. 


On canvas; height, 50 inches; width, 40 inches. 


Owned by THE Enrich GALLERIES. 


No. 35 


TONY OFFERMANS 
THE FARM HAND Pe’ 


With his mattock over his shoulder, his black hat on his 
head, and a clay pipe in his mouth a Dutch farm hand or 
small farmer trudges across the moor. In a basket on his 
arm he carries a yellow cock, which he has bought in the 
market for his poultry yard. Warm tones and strong char- 
acter feeling. 

Signature to the right at bottom. 


en se 
tat 


On canvas; height,'23 inches; width, 17 inches. 


Owned by Juuius OEHME. 


a - 
# 
yy ™ 


No. 36 


ANTOINE PESNE 


FRENCH SCHOOL 


fF g 9 1683-1757 


Son of Thomas Pesne, a naneat painter, and prothe 
of Jean, a French engraver of note; studied under his father, 
enjoyed a sojourn in Venice, became a member of the Paris — i 
Academy, but finally settled in Berlin, where he rose to be 
court painter to Frederick the Great, and a Director of the 
Berlin Academy. He painted history and portraits and his ee 
works were much admired by the connoisseurs of the court. z ae 
The galleries of the Berlin Schloss and those of Sans-souci_ ; > 
in Potsdam contain many of his works. Gaia 


LADY IN BROWN CLOAK 


ie , Portrait by a Frenchman who became court painter to Frederick _ 
} the Great, and died in Prussia, a Director of the Academy. Straight- 
forward style, delicate modeling and sweet light tones, like those 
so much admired in Fragonard and Greuze. The blues of feather 
: and ribands are charmingly set against the blue of the background. — 
The browns of felt hat, lace and cloak form another harmony. — 


i On canvas; height, 233 inches; width, 20 inches. 


Owned by THE Enrich GALLERIES. 


optee 


. ort; ‘ 


nee 
ne 
x 


An 


ee ee ee ee ae ae ae 


. 3 
UHAAM “S ‘H ‘EL me ON eT 


puvjyjoyT wt afvy awoyT 


No. 37 


ue. 


. 


<Cartalose 


i eee No. 87° ey 
ek So oH. KEVER : 


LAREN, HOLLAND as * | 
ai 


HOME LIFE IN HOLLAND /: 5° 


at a. Pics interior, lighted from the right by a window 4. Chae, 
ee embrasure, sits a mother ‘surrounded by children. 
She has dropped her sewing to explain to a child who stands 
in front of a tall home-made child’s stool some game or other 
matter. Another little girl sits on a. green low bench and 
peers into a cradle. On the red-tiled floor is a green dish 
for the cat. | | as 


Signature to the left at bottom. 
ie 2 _ On canvas; height, 23, inches; width, 31 inches. 


Owned by Jutius OEHME. 


No. 88 


(snu THOMAS LAWRENCE > 


ENGLISH SCHOOL Se 


os 


At the age of eighteen he first went i > onda when 
Joshua Reynolds, then near the end of his career, gave h 
valuable advice. At the age of. twenty-one the King who 
had already patronized him, insisted upon his being made : an 
extra associate of the Royal Academy, and. the following e 
year on the death of Reynolds he was appointed painter-in- it 
ordinary | to his Ma jesty. . Lawrence painted nearly all the Ee oa 
crowned heads of Europe and all the celebrities of his time. Bets 


* 


PORTRAIT OF KING GEORGE Vv ie 


ihe eal standing likeness of “the greatest eaten of \ 
Europe” in his robes of state, done with the brilliant brushwork of ; 
Sir Thomas. ‘The crown is on the table Nees him. He wears the 
orders of the Golden Fleece, of St. George and others, on chains. 
round his neck and breast; at his left knee the order of the Garter. FG 
Although in some respects like the large full length in the Lateran | 
at Rome this replica is carried out further in minor ‘particulars 
such as the crown on the table. 


On canvas; height, 464 inches; width, 32} aes 
Collection: Executors, ALEXANDER Topp, Esa., South Hi: ampton, England. . 


3 


Owned by THE EnrRicH GALLERIES. 


George IV 


SIR THOMAS LAWRENCE 
1769-1830 


Catalogue No 


No. 39 


EMIL MEYER 
PARIS 
THE FLOWER-LOVING CARDINAL Y2s 


A pupil of Vibert, this artist followed the famous genre 
painter in the subjects as well as the methods of his brush. 
The Cardinal is a jovial personality, but he is engaged very 
seriously in his hobby, so he carefully selects the flowers that 
please him best. 


Signature to the left at bottom. 
On panel; height, 18 inches; width, 16 inches. 


Owned by Jutius OEHME. 


ABRAHAM VAN DEN TEMPEL 
DUTCH SCHOOL 


ge | 
1622-1672 


der Helst.” Especially good examples of his work ¢ are in be 
the Museum of Rotterdam. | he es erik 


DUTCH BURGHER LADY a 


The quarter length of a married lady in kerchief and fine aden! ae 
veil, clad in a black corsage with short sleeves, a brownish skirt and 
linen apron. A gold chain is round her neck. She wears bracelets | 
and rings on both hands. In her left she carries a single carnation 
of a lilac tone. Firmly modeled, rather severe face. Excellent draw- 
ing of features, neck and hands. A distinguished painting. a 

On copper; height, 314 inches; width, 234 inches. — 3 


Owned by THe Enrico GALLERIES. 


d 
) 


Pat ew de 


, SA, pA GS 


9061-LP8T | LIF “ON ansoreze9 
MOTOVAL ZCI 


PLDUIPNGE 3D IePUg IUD 


No. 41 


FRITZ THAULOW m be 


_ PARIS 
1847-1906 


. THE BRIDGE AT OUDENARD 
Typical example of this famous Scandinavian painter, 


who passed his life in France. The water of the river comes 
toward the spectator and bends to the right with a swirling 
movement beautifully caught by the artist. In the rear are 
the red-tiled roofs and the two-arched bridge of the Belgian 
town. eh 7 sia aati male 
Signature to the right at bottom. 

' a On canvas; height, 21 inches; width, 27 inches. 


Owned by Juxtus Orne. 


No. 42 
“ALLAN RAMSAY — aaa 
es 29° se | | | ENGLISH ‘SCHOOL | : = - 


Ly, 13-17 84 
| Bae born in Edinburgh, first studied int Lon 
and then in Italy.’ On his return from Italy he first « es 
lished himself in Edinburgh. In 1762 he settled i in Le 
where he painted the portrait of George III, whos 
patronage he enjoyed for many years. Being a go ! 
guist and an accomplished writer, he was in touch wi fhe 
literary men of his time and painted their portraits with: 
considerable abil: ANY a na ‘ 


* Pia 


Le a Re oT ea ea ae 
yi Pe Fe Te rae ea 
To ey « J » i - | Peat 
¥ a oe hake Aa 


PORTRAIT OF. LORD CHESTERFIELD 


: The Earl of Chesterfield was more of a state than coe au- Suk 4 
thor, but during the intervals of his political career he cultivated 
the Muses”? in the somewhat condescending way of nobles. in his” 
time. In this portrait the Scottish painter Ramsay has depicted 
‘the famous ambassador to Holland and Lord Leftenant of Ireland 
in his character as writer. It is an honestly painted, rather stately 
portrait, remarkable for the handsome way in which the cloak is. ag 
managed, recalling the manner of Hogarth rather than Reynolds. 

On canvas; height, 50 inches; width, 40 inches. 


Owned by THE Enrico GALLERIES. 


Catalogue No. 42 


Hiss) 
= 
oS 
> = 
o ore) 
S ~ 
cS a 
~~ 

ne) 
O re 
S _ 
5 


ALLAN RAMSAY 


No. 43 


J. B. JONGKIND 


THE HAGUE 


s ) 
v4 


1819-1891 | 
EVENING CALM, HOLLAND /¢ 


$0 
To the right is a mass of houses and trees with a series 
of three windmills beyond them, all against a bright western 
sky. ‘To the left is a peasant woman washing clothes by the 
edge of the canal. Opposite, in the dark shadow of the 
houses and trees, are canalboats moored, and farther to the 
right in the foreground a slender young tree. Yellowish 
cloudlets are in the sky. Mystery and quiet are expressed 
in no violent colors. | 


Signature at bottom to lejt. 
On canvas; height, 13 inches; width, 18 inches. 


Owned by Jutius OEHME. 


No. 44 


THOMAS BARKER 
ENGLISH SCHOOL | 


1769-1847 


citizen of his ee town, studied in Rome, but witost 
instruction from any artist; and then for nearly a half cen- — 


tury sent examples of his best work year after year to the ~ 
Royal Academy and British Institution. His paintings had 

| ee so great a vogue in his lifetime that they were copied upon 
le almost every available material that would admit of decora- : 
tion: Staffordshire pottery, Worcester china, Manchester 
cottons and Glasgow linens. Rustic figures, rural scenes 
and simple life of the English home life were depicted by 
his prolific brush. ‘Two of his paintings ¢ are shown in the 
National Gallery. 


BOY BLOWING BUBBLES > 


The boy, who stands in profile holding an oyster shell in one hand 
and a pipestem, from which he has just forced a bubble, in the other, | 
has a personal charm that indicates a portrait rather than a fancy 
picture. <A strong light beats on his upturned face and breast, 
bringing out the iridescence of the rising soap bubbles. 

On canvas; height, 36 inches; width, 28 inches. 


4 


Owned by THE EnRicH GALLERIES. 


Gh ‘ON ansojeye9g 
UWIZLONAOS Gd1IOdOwT 


hying qowsydng ayy fo uanjagy ayy 


; “MUNICH ' isis 
RN ‘OF THE BAPTISMAL PARTY Le oo = 


ant } procession 1S entering a large gallery where the 
ig mother i is ‘seated i in state to receive the congratulations 7 K&S, iotliid 
of ee | ‘and | friends on the baptism of her infant. The child | 
s proudh borne : along « on a cushion by the wetnurse, a sturdy | 
eae and surroundings suggest the apoars 


a 52 rae oe enh 5 


Nam canvas; height 31 wait width, 44 inches, 


ee ite a 


"Owned by J ULIUS ‘Ornate, ‘ 


} 


a 
a 


 oartalhoetwunce Mo, 
iS 


ee 


steadily increased with his life.. Medals and public: honors — 4 
were showered on him. In 1815 he was knighted. In 1819 i: 


No. 46 


‘THOMAS LAWRENCE | 
ENGLISH SCHOOL 


oo dia 


keane to his Maj J as ‘His SUCCESS as a a.portmatt, paki . 


he was elected: President of the Royal Academy. On his: 


death he was buried with great pomp in St. Paul’s, where — | 
he rests he the side of his great mieaas Sir J oshua. fit 


PORTRAIT OF LADY BLESSINGTON | 


@egee 


The cachen ted beats and literary lady has the long curls and : 
Empire gown of the early nineteenth century. The square canvas 
has been placed in a circular frame which makes a pleasing setting 


to the graceful head. The picture is typical of Lawrence, who de- 


lighted in his skill in painting chestnut curls, lovely — swan necks : 


and_penciled brows. Himself a man of distinguished. good looks, he 
loved to paint beautiful women. | 
On canvas; height, 24 inches; width, 20 inches. 


Owned by Tur Eurich GALERIes. 


46 


Catalogue No. 


Lady Blessington 
1769 


SIR THOMAS LAWRENCE 
1830 


No. 47 
JEAN JACQUES HENNER 


PARIS wA | 
1829-1905 


Sent 


THUSNELDA 


Head and bust of a fair-haired woman with a blue 
drapery drawn round her shoulders. ‘Thusnelda was a Ger- 
man princess, wife of Arminius, the conqueror of Verus. 
Germanicus, the son of Drusus, captured and brought her 
to Rome to grace his triumph. 


Signature in middle to left. 
On canvas; height, 104 inches; width, 74 inches. 


Owned by Juuius OEHME. 


NO, 48 iene 


“NICOLAAS MAES 
DUTCH SCHOOL 


1682-1693 


Sane he remained there ene his deste The — vari- " 


ance in the style of Maes’s earlier and later works has - “puz- oe a 


_gled art critics: Maes must be counted among the great 
artists that Holland has pence. " rita ars 


‘PORTRAIT OF A GENTLEMAN coe 


This is a picture at which painters marvel. Not merely has the 
pupil of Rembrandt given the character of his sitter but he has ‘fi 
ished ‘the whole figure with a solid, exact and truthful brushwork 
only. attained by the few. A wealthy merchant or professional man | 
in wide, long wig and gown of moiré silk sits attentive and receptive : 
to what the painter is saying as he finishes the portrait, 

Marvellous ease and finish of textures, but more marvellous 
painting of character and spirit. 


Signed left centre: “Mars, 1676.” & + 
On canvas; height, 254 inches; width, 214 inches. 


Owned by THE Enrico GALLERIES. 


Portrait of a Gentleman 


NICOLAAS MAES 
16382-1693 


Catalogue No. 48 


No. 49 7, 


MADAME MAXIMILIENNE GUYON 
PARIS 


Wal 


—1904 


CAFE AU LAI 


A young woman bringing in a tray with coffee pot and 
cup. Excellent painting of still life. Madame Guyon 
attained high rank as a painter. 


Signature below to right. 
In*water-color; height, 23 inches; width 19 inches. 


Owned by Jutius OEHME. 


SIR JOSHUA eo 
ENGLISH SCHOOL 


1728-1792 


Reynolds is acknowledged as the greatest of all Englis | 
portrait painters. His life was one uninterrupted artistic o 
triumph. Whether as first President of the Royal Academy 
or as the writer of the famous “ Discourses on Art” or as — 
the intimate friend of Dr. Johnson, of Oliver Goldsmith, — A 
and of all the great Englishmen of his time, he stands out 
as a leader of men and a shining ornament to the art pro- | 4 


fession. He had many pupils and followers of his brilliant 
anal 


THE TWO CUPIDS 


A couple of extremely graceful Cupids with small quiet-colored’ 
wing's hold between them a drapery, as if to catch manna falling 
from heaven. Observe the delightful modeling of the larger Cupid’s 
back. It should be noticed that unlike the impersonal Cupids of 
Italian art the Cupids of this Briton are individuals, each having a 
character of his own. | | : . 


Early work of the famous First President of the Royal Academy. 


On canvas; height, 36 inches; width, 284 inches.. 
From collection of 8. 'T. Smiru, Esq, London, England. 


Owned by 'THE Enrico GALLERIES. 


No. 51 


ALBERT LYNCH 
| PARIS 
SUMMER TIME Ay oT 


The coquettish maiden in rose-pink hat with black rib- ,2/ 
bon is a French edition of the summer girl of America 
Albert Lynch is a Peruvian by birth, who was educated in 
Paris, and made there a great reputation for domestic scenes 
and large mural work as well as delicate single figures, gen- 
erally of handsome young women. 


Signature at bottom to right. 
On canvas; height, 32 inches; width, 22 inches 


Owned by JuLttus OEHME. 


Aves 3 NO 952 


ABRAHAM VAN STRIJ_ 
a! sv DUTCH SCHOOL | 


1758-1826 


to the style ai onnigie of Cuyp that even in. 4 
“museums they : are attributed to that master. Me 3 
CATTLE BY THE RIVER me . 
Scene of absolute rest and quiet in the morning hours on 4 Di 
‘Dutch canal or English tidal river. Van Strij lived long in prs AC 
land. Two cows stand fetlock deep in water, others lie or stand 
on the green higher bank with sheep and goats. A broad-bowed | 
skiff contains two men who are dipping their oars. Fine dreamy se 
; sky, reflections of bank and farmhouse in the smooth water. Beyond , 
the gates and trees of a park are the roof and tower of a country- 
seat. | | Sere 
On canvas; height, 39} inches; width, 49} inches. 
From collection of Mrs. ConsTaBLE, near London, England, a relative of the jai! John 
Constable. 


Owned by 'THE EnRIcH GALLERIES. 


The Vicomtesse @Emonville 


: ; NICOLAS DE LARGILLIERE 
1656-1746 


No. 53 | js 


CAMILLE COROT 3° A : 
PARIS 


1796-1874 
ITALIAN LANDSCAPE 


This is one of the pictures that le Pére Corot kept by him 
as a reminder of his visit to Italy. There is little incident 
in the scene, but the gray tones are remarkable and an infi- 
nite restfulness pervades the scene. It was sold with the 
pictures that were found in his studio at his death. 


Signature: ““VENTE Coror.”’ 
On panel; height, 5 inches; width, 11 inches, 


Owned by Jutius OEHME. 


Ne 54 


SIR HENRY RAEBURN 


SCOTTISH SCHOOL 


Lge ser 1756-1823 


sojourn in London, where he enjoyed the special roy a 
of Sir Joshua Reynolds, Raeburn, who has been called ea 
“the Scotch Reynolds,” spent his life in Edinburgh. He — 
was the favorite portrait painter of Scotland. “He made — 
it his peculiar study to bring out the mind of his sub jects. 
His penetration enabled him quickly to discover their favor- 
ite pursuits, and to engage them on topics of lively conver- 
sation; and while they spoke, he caught the features. 
enlivened by the strongest expression of which they were 
susceptible. His portraits not only seem to live and breathe, 
but to think, looking as though they were about to speak | 
on some favorite topic.” The great genius of Raeburn 
has only lately been adequately appreciated, and it is safe 
to say that his works will constantly rise higher and higher 


in value. 


| PORTRAIT OF NEIL GOW, THE SCOTTISH mae 


This likeness of a celebrated character is painted mu the seen 2 
firm manner to which the Scottish portrait painter Raeburn owes 
his fame. He is painted just as he was, without any accessories 
except his beloved violin over which he draws the bow with inclined 
head and dreamy eyes. Note the splendid feeling for form in the 
modeling of the musician’s head and the richness of the coloring. 


Collection: Str A. C. Mackernziz, Edinburgh; exhibited at the Loan Exhibition of Scottish 
National Portraits in 1884. This painting is specially mentioned in Robert Louis 
Stevenson’s essay on “Some Portraits of Raeburn” in “ Virginibus Puerisque.” 


On canvas; height, 36} inches; width, 332 inches. 


. Owned by THE Enrich GALLERIES. 


Neil Gow 


SIR HENRY RAEBURN 


1756-1823 


Catalogue No. 54 


No. 55 


CONSTANT TROYON 
PARIS 
1810-1865 
RETURN OF THE FLOCK, EVENING 0 °°7~ 


Troyon was one of the greatest painters of animals of , 
the past century and excelled in painting sheep. In the Higa ter 
gathering darkness the fleeces of the flock coming down (via 
the road have a strange glint in them. Very natural and 
expressive are the poses of the different members of the flock. 
The picture came from the sale of Troyon’s studio and 
belonged later to the Alex. Young Collection. 


“VENTE TROYON” stamp at botiom to lejt. 
Wares, On canvas; height, 29 inches; width, 36 inches. 


Owned by Juuius OEHME. 


: eM ae =i ~~ : AD a: PT) At ons ui 
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0. 56 cee 


NICOLAS DE LARGILLIERE _ 


FRENCH SCHOOL 


| |0 ies Be 
| 1656-1746 aa 
Trained in the studio of Goubeau in Antwerp, Largil- ois 
liére tried his fortunes in England, but soon settled in Paris, \ Be 
where under the patronage of Le Brun he obtained a large 7 
practice among the nobility and professional classes. After : 
the death of Le Brun and Mignard, he occupied the fore- 
most position in the French School, and filled successively 
all the offices of honor in the Academy. Besides examples 


of his work found in the larger galleries of Europe, the 


French provincial museums contain many specimens of 
his art. | 


PORTRAIT OF VICOMTESSE D’EMONVILLE 


In a gown of blue cloth covered with gold passementerie and 
_ pearls, draped in a cloak of old-rose color, the Vicomtesse d@’Emon- 
ville gazes from gray-blue eyes with slightly parted lips and holds 
her fingers in the distinguished fashion of the time. She has a tower 
of powdered curls, from which one very long one falls on her shoul- 
der and below it. At the point of her V-shaped gown hangs a pend- 
ant with big pear-shaped pearl. Her maiden name was Geneviéve 
Elizabeth Victoire de Belleval. 


On canvas; height, 374 inches; width, 304 inches. 
From collection of private gentleman at Amiens, France. 


Owned by THE Enrico GALLERIES. 


LG “ON oensojeze9 
or | | . NO'TEaVHONOW NVE 


| 
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JAN IWELQO IN Co ba 44 Bo 4-8 USS 


No. 57 
JAN MONCHABLON 
| PARIS , fener 
1848-1904 HO ie tes 
VIEW OF VIRONCOURT IN THE VOSGES 


A characteristic view of a bit of country in the north of he Gilllce$ 
France by a master of landscape. The trees planted along 


the chaussée cast even shadows across the road. 


Signature at bottom to right. 
_ Painted on panel; height, 19 inches; width, 26 inches. 


Owned by Jutius OEHME. 


GEORGE MORLAND 


ENGLISH SCHOOL 
1763-1804 


The works of few artists of the Early English Schoo 
are more rapidly rising in public appreciation than tho ic. 
George Morland. He came from a family of artists, and as 
showed his talent for drawing at the early age of seven. ee 
His youth was spent in the studio of his father, his leisure 
in reading, violin playing and country rambles. His life a 
wholly devoted to art, was passed almost entirely in London a 
His extravagant and wild living brought him to an early — a 
death at the age of forty-two, but his genius and deep sym- ne ; ; 
pathy with nature have given him an enviable place in Eng- a 4 


lish Art. 
SUMMER AFTERNOON oe 
Three cows lying down and one standing form the centre of a = if 
bucolic scene. To the right is a seated man and beyond him a sec- Pie 
ond countryman extended full-length on the ground asleep with his i a 
i face on his crossed arms. An old blasted tree with some branches ae 3 
still green is in the middle distance and farther back a cottage. _ 
Soft outlines and rich, mellow tones. . | ‘ a eae 


Signature in front, centre; dated 1789. : . 
On canvas; height, 28 inchs; width, 36 inches. 


4 


i Owned by THE Enrico GALLERIES. 


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ST Seth at 


oy 
RR Re ee 


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99d A “OUD puviyy 


WHIZ XVI 


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Pen ON ee 


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“FELIX: ZIEM 


iia ties PARIS” 


a oF THE GRAND CANAL, ‘VENICE 


AD “color scheme very characteristic of this French. ex- 
enice. The view is from the anchorage for large 
ie Giardino Publico, and includes the Giu- 


pu lence of Ziem’ s brush. 


at botiom to right. Se rst ay pir cage 
Painted on a panel; height, 27 inches; width, 44 inches. 


® 


in ‘Owned by Jutivs OEHME. 


SoD 


Ta 19 


De Xialeoecenace Min«s 


No. ae 


GAIN SBOROUGH-DUPONT 


ENGLISH enon (to 


: Se “907 ne 1767-1797 


Dupont was the nephew of the great ‘Thora 
borough, and painted i in con junction with him. He | 
specialty of portraits, and would no doubt have c 
the front rank if he had not died at the early age of 

He was also distinguished as an engraver, and ‘ ‘his en 
ings ‘of some of Gainsborough’ S portraits are imbued : 
the cory santas of the in| : | } 


i 


SIR JOHN READE AND BROTHER» 


iz ye ae 
The nephew of the great Gainstoreaee was an n able artist as 


The boy on the left in dark-green suit, white silk stockings, a an 


Sie Pay 


cae 


Soe Rec bows on Ais shoes lee on his wrist a white > cockatoo: 


: to his brother. A decided difference in the coloring of hel brothers. | - i 


Sweet, rounded features and i ingenuous expressions. ery :e 


On canvas; height, 55 inches; width, 45 Inchon. ae 
From the sale of the READE Fami.y, Shipton Court, Oxfordshire, England. cep ih A 


Owned by THE Enrico GALLERIES. 


Sir John Reade and Brother 


—DUPONT 


GAINSBOROUGH 


1767-1797 


_ 40 


No 


Catalooue 


No. 61 


be ULIEN DUPRE 


PARIS 


LA FERMIERE — §2 25° ~ 


= sed, eee French peasant woman is shown 2 4 
| er. nis and sheep placing her hand on a cow which Fie 
ing from the pool. Julien Dupré is particularly 
his bucolic scenes. He has the knack of making his 


_ On canvas; height, 22 inches; width, 32 inches. 


No. 62 
SCHOOL OF JEAN ANTOINE WATTEAU 
| FRENCH SCHOOL 
1684-1721 


Watteau, whose work created a revolution in the con- 
ception of art, was followed by a number of imitators, some 
of whom approached him very closely. The composition of 
this example greatly resembles the graceful conceptions of 
Watteau, and the painting strongly reminds one of his bril- 
liant color and charm. 


MINUET ON THE GREEN 


Near a shady tree grouped on a stand is a crowd of gentlefolk 
and musicians watching a lady and gentleman going through the 
slow movements of the minuet, a dance that began with one pair 
of dancers. Opposite sits another smaller group of spectators. 
Near the tree, a white hound, in front of the lower tier of ladies 
on the left, two King Charles spaniels. The audience is partly 
engaged in conversation, partly absorbed in following the couple 
of dancers who evidently move to very slow music. 


On canvas; height, 27 inches; width, 33% inches. 
From the collection of Lorp Norru, near Bath, Somersetshire, England, where it was 
attributed to Watteau. 


Owned by THr Enrich GALLERIES. 


ee 


888I-8EésI 69 ‘ON ansoyeye9 
HAOQVIN NOINV 


HD) POOM I4D 


BeYY 


No. 68 V7 
ANTON. MAUVE / 


LAREN, HOLLAND 
1838-1888 1200 
THE WOOD CART | 
A charming little water-color by the late master of land- MS tle 
scape in Holland. It has more sentiment than some of the 
large paintings by Mauve which have brought sensational 


prices at picture sales. 
Signature at bottom to the right. 


ey ae 


Se AS, 
13331832352 


a MS Gt 


Water-color; height, 84 inches; width, 12} inches. 


-_-aA4A™ 


Owned by Jutius OEFHME. 


ENGLISH SCHOOL 


vie ue, 1617-1680 


Sir Peter Lely, whose real name was Pieter ve 


Faes, was born in Westphalia. After two years’ stuc y at 


Haarlem, he decided to visit England, where he arriv r 

the age of twenty-three. Imitating the style of Van 

he soon sprang into favor, and. at the marriage of : i 

of Orange with the Princess Mary in 1648 he was p 

_ to Charles I and received orders to paint his portr: 

those of various members of his family. Although | 
_remained in England during the Commonwealth, and evel 
painted. the portrait of Cromwell, Charles II none the. less 


made: him his principal painter and honored him with as e Fe 
baronetcy. His success in life was unbroken, and he died a: 


at the age of sixty-two, blessed with wealth and honors. — a 


THE LADY PALATINE 


A portrait of Elizabeth, daughter of James I, married to Fred- 
erick V, Elector Palatine and King of Bohemia, driven from his eh 
throne by the Austrians. This sister of Charles I is shown stand- | 
ing. She wears the white satin gown which was in fashion at the BG 


time. At her ears hang enormous pear-shaped pearls. Through 


an opening in the rear a fleet of ships may indicate the assistance 
that James I attempted to afford his son-in-law and daughter in 


order to regain the lost electorate. aie 


On canvas; height, 453 inches; width, 294 inches. ; Pr 


From the collection of HumpHry Warp, Esq., London, England. 


Owned by THe Enrich GALLERIES. 


The Lady Palatine 


SIR PETER LELY 
1617-1680 


Catalogue No. 64 


cateeoeame 
ie ae 


No. 65 


FERDINAND ROYBET 
PARIS 
CAVALIER, LOUIS XV 


Roybet’s brush has a vivid robust quality that no other Moy ae by- 
living painter can equal. Face or costume he paints with a (Furr 
pure love of painting. The canvas is a characteristic exam- 
ple of his power of showing the texture of garments along 
with a distinction rarely surpassed. 

Signature to left at top. 
On canvas; height, 32 inches; width, 26 inches. 


Owned by Jutius OEHME. 


No. 66 


GERRIT BERKHEYDEN 
DUTCH SCHOOL 
1638-1698 


Encouraged by the success of his elder brother Job to 
become a painter, he entered the guild of St. Luke in 1660. 
He painted in Cologne, Heidelberg, Haarlem and Amster- 
dam, and his works are faithful representations of the prin- 
cipal towns of Holland and Germany. | 


VIEW OF CANAL, HAARLEM 


Characteristic scene in Haarlam, Holland, toward the end of the 
seventeenth century. The tallish, gray-stone building to the left is 
a public weighhouse. Burgher houses with gables overlooking canal 
and Gracht, near which boats are moored. In the foreground a 
small fruit and vegetable market, burghers bargaining with coun- 
try people, dogs, heaps of produce, etc. 

On panel; height, 19 inches; width, 25 inches. 


Owned by THE EHRICH GALLERIES. 


FERDINAND ROYBET 


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No. 67 


EVERT PIETERS 
KATWYK-AN-ZEE, HOLLAND 
SetRe DAILY BREAD”. . . ./O60? 7 


. Charming domestic scene by one of the most successful 
of the younger painters of Holland who work in the vein of 
Israels, Neuhuys and Blommers. In a simple room before 
a rude table sits the mother with a loaf pressed against her 
bosom as she cuts a slice for the little girl who stands at her 
knee. The light falls through white curtains on this group 
and on the blond head of a small boy seated on a bench. be- 
tween table and window. Note the beautiful tones in wall 
hanging and green kerchief of the mother, also her pale lilac 
waist and apron-skirt of faded blue. A chapter from the 
humble homes of Brabant. Pieters isan Antwerp artist 
who has taken gold medals in Paris and Barcelona. 

Signature at bottom to right. 


Owned by Juiius OEHME. 


On canvas; height, 364 inches; width, 314 inches. 


No. 68 


FRANCIS COTES 
Hh 5 0 ENGLISH SCHOOL 
1726-1770 


A distinctly English portrait artist, much in vogue in 
London during his lifetime. He was one of the first mem- 
bers of the Royal Academy, and a member of the Incor- 
porated Society of Artists. Portraits by him are found in 
many noble English families and public institutions. 


LADY IN WHITE SILK 


Portrait of a slender young woman with roses in her powdered 
hair, and a chip-straw hat with blue ribbon perched above. The 
low-cut corsage trimmed with white ribbons in knots is lightened 
with a few old-rose bowknots. In her left hand she holds a slender, 
long walking cane; her right hand points away, as she turns her 
fan to the right, as if conversing. Large, dark-blue eyes and 


cupid’s-bow mouth. 
: On canvas; height, 49 inches; width, 35 inches. 
Collection the Hon. Mrs. SHEFFINGTON SMYTHE, Bushbridge Hall, Godalining, England. 


Owned by THE EHRICH GALLERIES. 


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the Talmud 


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JOSEF ISRAELS 


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No. 69 
Nv | 
iy 


JOSEF ISRAELS 
THE HAGUE Us 

1814— Dace 
READING IN THE TALMUD /00¢ 


A small water-color into which the Dean of Dutch paint- UT Clam 
ers has put his delicacy and his strength. The old Rabbi — 
is absorbed in reading the Scriptures. Simple, direct and 
masterly painting without an attempt to force details. 


Signature at bottom to right. 
7 Water-color; height, 13} inches; width, 9} inches. 


From the Staats Forsss collection. 


Owned by Jutius OEHME. 


GEORGE HENRY HARLOW 
ENGLISH SCHOOL 


‘ : SS “1787-1819 


Harlow was a pupil of Sir Thomas me re : 


EQUESTRIAN PORTRAIT OF THE DUKE OF 
WELLINGTON 


(AFTER mae. 


raising his chapeau as a salute to troops. He wears a eae blac j 
cloak over his black uniform and sits his steed with much grace. q 
This is in great contrast to the portraits of the Iron Duke made i in ; 


his old age. 


On panel; height, 66 inches; width, 43 ms 5 
Collection of the late BARON DE Te!sst&ER, of Brunswick Terrace, Brighton England. 


Owned by Tur Enrico GALLERIES. 


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No. 71 


A. WIERUS VON KOWALSKI 
: MUNICH 
START OF THE PLEASANT TRIP, WALLACHIA 
On a brilliant day in autumn a party of young people set 
out on a drive. The procession starts with two buxom Wal- 
lachian girls in a cart pulled by a lively horse. They are 
in great spirits, seeming to anticipate a jolly time. The 


Polish painter excelled in the drawing of horses. 


Signature at bottom to left. 
On canvas; height, 19 inches; width, 24 inches. 


Owned by Jutius OEHME, — 


ALESSANDRO VAROTARI ee PADO 


a ITALIAN SCHOOL 
1 | : 
} 1590-1650 


ieee HESS Padovanino, « little ‘Paduan,” “which 


under the best traditions of Venetian art. “ His c color 

rich and full of Venetian splendor; there is a quality o: : | 
lence within his brush-work, and his flesh tints seem to- reca b 

something of the lost golden coloring of Titian.” Examp] | 

of his work are found in the Academy at Me) in the sy 

Louvre and the National Gallery. 


MUSE OF MUSIC 


Seated nymph with back to observer but head turned profile, the 
face in half shadow. She holds a tambourine in her lap which she 
presses with one hand. Dark-blue drapery leaving one shoulder 
bare. Some simple white beads in golden hair and red beads se 
wrist. | 


On canvas; height, 29 ee wile 19¢ inches, ee 
Collection: Count Panctatict, Florence, Italy. 


Owned by THE Enrico GALLERIES. 


No. 73 


JOHAN HENDRICK VAN MASTENBROEK 
' ROTTERDAM 


WINTER MORNING AT THE LOCK 


Mastenbroek is one of the younger painters of Holland, 
and makes Rotterdam serve as his place for subjects. He 
gives the feeling of damp cold in his atmosphere and invests 
a canal lock with a tragic intensity that surprises. This is 
an extraordinary picture in many ways. It recalls the magic 
brush of Jacob Maris, but it is entirely individual. 


Signature to the left at bottom. 
On canvas; height, 16 inches; width, 24 inches. 


Owned by Jutius OEHME. 


No. 74 
JACOPO PALMA (IL GIOVINE) 


ITALIAN SCHOOL 


ae 
~ 
ws ae 


1544-1628 


Palma, after studying under his father Antonio, nephew 
of Palma Vecchio, was taken by the Duke of Urbino to 
Rome. While his best paintings are found in the Palace 
of the Doges, interesting examples of his work may be seen 
in the museums of Dresden, Munich, Florence, Vienna and 
Venice. 


THE MADONNA AND CHILD WITH GLOBE 


Lovely example of the charm in Venetian coloring. Palma Gio- 
vine kept some of the old conventions as to draperies and attributes. 
The Christ-child has one foot on a globe signifying the world and 
holds up two fingers in the traditional way. Both mother and 
child are looking down to the right as if St. John were there. 

Exquisite tones of dull gold, of flesh color, and of old rose. 


On canvas; height, 193 inches; width, 192 inches. 
Purchased in Bergamo, Italy. 


Owned by THE EnricH GALLERIES. 


No. 75 


THEOPHILE DE BOCK ¥, 
| re - = “AMSTERDAM ; 
W : 1851-1906 
SILVER BIRCHES IN SUMMER 7b: 


Landscape by one of Holland’s best artists, recently 
deceased. ‘The water-color has all of De Bock’s quiet distinc- 
tion and faithful interpretation of nature. 


Signature at bottom to right. 
Water-color; height, 104 inches; width, 16 inches. 


Owned by Juuius OEHME. 


No. 76 
SCHOOL OF FRANCOIS CLOUET 


FRENCH SCHOOL 
XVI CENTURY 


The artist of this painting, like all the work of Clouet, 
shows traces of Flemish origin. None the less they possess 
a French element which is observable in their elegance and 
their insight into the moral and physical character of the 
person represented. 


YOUNG NOBLEMAN 


A rather severe-looking youth in big white ruff, his brown hair 
short, and depicted with his coat of arms to the left and the word 
** Cloudt ” underneath it. The shield is gules with a silver bend. To 
the right is “ Anno, 1580.” 

On canvas; height, 30 inches; width, 25 inches. 


Owned by THE EnRiIcH GALLERIES. 


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